50 Best Movies on Amazon Prime Right Now (March 2020)

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50 Best Movies on Amazon Prime Right Now (March 2020)

Amazon Prime is an unheralded streaming treasure trove of some of the best movies to come out in the past couple years, though good picks can feel nearly impossible to cull from the sometimes overwhelming glut of weirdly terrible titles buried in Prime’s nether regions. Who can keep track of any of this stuff?

Well, we can. Or, at least, we try (especially considering that Prime seems to trade titles with Netflix on a weekly basis). Amazon Prime hosts (at least) 14 of our top 100 movies of 2010s, such as The Handmaiden, Annihilation, Inside Llewyn Davis, Zama and First Reformed, not to mention some lesser-known picks, like Bisbee ’17 and Oscar-nominated Hale County This Morning, This Evening and weirdo period piece, Ben Wheatley’s A Field in England. Also recently added: Midsommar, The Souvenir and Transit, which, with Climax, Ash Is Purest White and High Life, makes up some of our favorite films of the year. One Child Nation found its way onto our best documentaries of 2019 list, too.

Amazon Prime continues to prove it has an eclectic collection of stuff you won’t be able to find anywhere else.

Here are the 50 best movies available to stream with Amazon Prime right now:

1. Stop Making Sense

stop-making-sense.jpg Year: 1984
Director: Jonathan Demme
Genre: Documentary, Musical
Rotten Tomatoes Score: 97%
Rating: NR
Runtime: 99 minutes

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Lester Bangs once wrote an essay about “Heaven,” the Talking Heads song that in so many ways epitomizes and holds aloft Jonathan Demme’s concert film. In it, Bangs fixated on one of David Byrne’s iconic lines: “Heaven is a place where nothing ever really happens.” Heaven, he explained, is—to Byrne’s coke-addled mind—a way of life where all of the stimuli of modern society couldn’t reach him. Couldn’t affect him. Couldn’t whip him up into a frenzy. This, according to both Bangs and Byrne, is truly Nirvana. Stop Making Sense happened over two nights at the Pantages Theater in 1983, and the second song on the setlist is “Heaven,” set against a bare stage on the cusp of a drastic remodel. From there, the set, as well as the band, builds itself—instruments and writhing bodies and elaborately weird backdrops are added, one upon another, until the stage is absolutely seething with life. And so, not only was Stop Making Sense a document of a legendary band at the height of their powers, but it even today seems like an unheralded synergy of movement and sound, of image and artist—so much so that the band allows us to watch as they destroy, and then re-do, their own idea of Heaven. —Dom Sinacola


2. Dead Ringers

dead-ringers-movie-poster.jpg Year: 1988
Director: David Cronenberg
Stars: Jeremy Irons, Genevieve Bujold, Shirley Douglas
Genre: Drama, Thriller, Horror
Rotten Tomatoes Score: 83%
Rating: R
Runtime: 115 minutes

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In Dead Ringers David Cronenberg reins in the extremities of his earlier genre works into something resembling a chamber drama—except there’s always a catch with Cronenberg, and this time he almost cruely toys with the identities of identical twins, gynecologists Elliot and Beverly Mantle (very loosely based on Stewart and Cyril Marcus), played by a Jeremy Irons who is doubled on himself through black movie magic. Cronenberg also plays with the audience’s perception of the duo, taking steps to establish Beverly as the “good” twin (more sensitive) and Elliot as the “bad” one (more bullish) before eventually degrading those categorizations and blurring the lines between the two characters, in more ways than one. A troubled relationship with actress-patient Claire Niveau (a fierce Genevieve Bujold) creates fissures in the relational dynamic of the twins, which in turn creates fissures in their minds; things get to a point where freakish gynecological tools are created due to imagined mutation spreading. The later scenes of the film take on a haunting quality as Elliot and Beverly become untethered from each other and, thus, their reality. They do manage to find each other again, but this is a David Cronenberg joint; don’t expect a happy ending. Dead Ringers is a brooding rumination on the external realities we use to define ourselves, what happens when our duality is divided and the subconscious ways in which we plant the seeds of our own destruction. More, it’s about doubling our Jeremy Irons intake in one sitting, which is always a worthy cause. —Chad Betz


3. His Girl Friday

his-girl-friday-poster.jpg Year: 1940
Director: Howard Hawks
Stars: Cary Grant, Rosalind Russell, Ralph Bellamy
Genre: Drama, Comedy
Rotten Tomatoes Score: 98%
Rating: PG
Runtime: 92 minutes

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Special effects have become so sophisticated that many of us have probably forgotten how much pure amazement you can wreak with a great story and a script that doesn’t let up for one second. This amazing, dizzyingly paced screwball comedy by Howard Hawks stars Cary Grant and Rosalind Russell, and takes us back into two of the decade’s hallmark preoccupations: The “remarriage comedy” and the intrigue and obsessiveness of the newspaper world. The minute Russell’s Lindy Johnson stalks into the newspaper office run by her ex-husband Walter Burns (Grant), you know it’s to tell him she’s getting remarried and leaving journalism to raise a family, and you know that’s not how it’s going to end. No high-suspense mystery here. What puts you on the edge of your seat in this film is how you get there. Hilariously acted and expertly filmed, His Girl Friday derives much of its comedic impact from the incredibly clever and lightning-fast banter of the characters. Don’t even think about checking your phone while you’re watching this. In fact, try to blink as little as possible. —Amy Glynn


4. The Virgin Suicides

virgin-suicides-criterion-movie-poster.jpg Year: 1999
Director: Sofia Coppola
Stars: Kirsten Dunst, Kathleen Turner, James Woods, Giovanni Ribisi, Josh Hartnett
Genre: Drama
Rotten Tomatoes Score: 76%
Rating: R
Runtime: 97 minutes

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Set in the affluent Detroit suburb of Grosse Pointe, The Virgin Suicides is yet another Detroit-area, ’70s-era film obsessed with death. That its quintet of young protagonists—sisters played to unnervingly angelic perfection by Kirsten Dunst, A.J. Cook, Hanna Hall, Leslie Hayman and Chelse Swain—all commit suicide in the end is far from a surprise, of course: What is a surprise is that we never know why. In fact, the film is almost an oneiric procedural, in which the neighborhood boys who become infatuated with the strange daughters pick apart, piece by piece, detail by detail, the befuddling lives behind the objects of their affection. As such, The Virgin Suicides gracefully attempts to remember what it’s like to be a suburban teenager, comfortable in Middle America but uncomfortable with one’s body. Yet, the brilliance of Sofia Coppola’s direction (on even her first film) is in the way she laces such a seemingly innocent story with malice and melancholy, fixating on details that don’t matter or moments that have no consequence. That the narrator (Giovanni Ribisi) refers throughout to the decaying of the auto industry in Detroit makes the film as much a ghost story about Southwest Michigan as it is a tale of unrequited love: Try as hard as we might, we’ll probably never be able to trace the tragedy of Detroit back to its source. —Dom Sinacola


5. First Reformed

first-reformed-movie-poster.jpg Year: 2018
Director: Paul Schrader
Stars: Ethan Hawke, Amanda Seyfried, Cedric the Entertainer, Michael Gaston, Philip Ettinger
Genre: Drama
Rotten Tomatoes Score: 93%
Rating: R
Runtime: 108 minutes

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What makes a man start fires? What if that person were a man of God? Paul Schrader, now 71, has perhaps spent his entire career as a filmmaker attempting to ask that question, to breach the impenetrable truth of whatever that question’s answer could be, beginning with Blue Collar, a story of auto workers and union members in Detroit compromising their values to survive in the shadow of forces too large and too immovable to compromise themselves. With First Reformed, Schrader’s 20th feature as director, that question absorbs the whole film—not through cries of nihilism, as in his previous, garbage Dog Eat Dog, but as a sustained act of faith: What must the devout do for a world God has abandoned? The question lingers wetly in Ethan Hawke’s eyes as he carries every frame of Schrader’s film. Playing Father Ernst Toller—a minister who in a former life had a wife and a son and a military career, an end brought to all three by that son’s death in Iraq—Hawke has spent the past 20 or so years sublimating the radical tendencies of his iconic slackerdom into a fiercely simmering anxiety, as if the purposelessness of his past malaise has left him stewing on how little he can or could do to change anything in this world. Not only does First Reformed directly butt heads with Dog Eat Dog, but it indulges melodrama without losing its calm. It works in obvious metaphors not for their own sakes, but as seamless extensions of theme. It’s a gorgeous film, mourning the impossibility of being alive as it celebrates that which binds us, a conscious-rattling, viscera-stirring piece of art. And ultimately, it’s a shocking film, powerful images gripping even more powerful fires within the bodies of those unequipped, as we all are, to put them out. —Dom Sinacola


6. Rosemary’s Baby

rosemarys-baby-movie-poster.jpg Year: 1968
Director: Roman Polanski
Stars: Mia Farrow, John Cassavetes, Ruth Gordon, Maurice Evans, Sidney Blackmer, Ralph Bellamy
Genre: Horror
Rotten Tomatoes Score: 96%
Rating: R
Runtime: 136 minutes

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The banality of evil isn’t a concept new to the horror genre, but in Roman Polanski’s troubled hands, that banality is an unadulterated expression of institutionalized horror, one so ingrained in our society it becomes practically organic. With Rosemary’s Baby, the body of young Rosemary (Mia Farrow) is the institution through which Satan’s malice gestates, a body over which everyone but Rosemary herself seems to have any control. At the mercy of her overbearing neighbors (played by a pitch-perfect Ruth Gordon and Sidney Blackmer), her Ur-Dudebro husband, Guy (John Cassavetes), and the doctor (Ralph Bellamy) recommended by her high society cadre of new friends, Rosemary is treated as if she’s the last person who knows what’s best for her and her fetus—a position she accepts as a matter of fact. She’s only a woman, a homemaker at that, so such is her lot. The worse she feels and the more fraught her pregnancy becomes—as well as the recurring flashes of a ghastly dream she can’t quite shake in which a ManBearPig mounts her, its glowing yellow eyes the talismans of her trauma—the clearer Rosemary begins to suspect she’s an unwilling pawn in something cosmically insidious. She is, is the absurd truth: She is the mother of Satan’s offspring, the victim of a coven’s will to worship their Dark Lord much more fruitfully. More than the director’s audacious Hollywood debut, not to mention the omen of what New Hollywood would be willing to do to tear down tradition, Rosemary’s Baby is a landmark horror film because of how ordinary, how easy, it is for everyone else in Rosemary’s life to crush a woman’s spirit and take her life. The baby has “his father’s eyes” it’s said; what of the mother’s does he have? —Dom Sinacola


7. Seconds

seconds-movie-poster.jpg Year: 1966
Director: John Frankenheimer
Stars: Rock Hudson, Salome Jens, John Randolph, Will Geer
Genre: Drama, Science Fiction & Fantasy
Rotten Tomatoes Score: 91%
Rating: R
Runtime: 108 minutes

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Setting the tale from coast to coast in prosperous ’60s America, John Frankenheimer casts an eye through a thin veil of science fiction to what he sees as a failingly lonely way of life. Approached by a mysterious outfit known as “the Company,” middle-aged family man Arthur Hamilton (John Randolph) is given the opportunity to fake his death and start over as bohemian California-based painter Tony Wilson (Rock Hudson). Tapping away to the existential core, however, “Tony” only finds his new life as hollow as his old one, a construct populated by Company actors and other “reborns” who just want to sustain the illusion. James Wong Howe’s shadow-infused cinematography and Jerry Goldsmith’s anxious horror score apply the paranoid sheen to what is really a bleak examination of the contemporary domesticated worker—bleak because, minus the presence of the elusive, amoral Company, Seconds’ dystopian Earth is absolutely our own. —Brogan Morris


8. Blow Out

blow-out-movie-poster.jpg Year: 1981
Director: Brian De Palma
Stars: John Travolta, Nancy Allen, John Lithgow, Dennis Franz
Genre: Drama, Thriller, Mystery & Suspense
Rotten Tomatoes Score: 85%
Rating: R
Runtime: 107 minutes

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Brian De Palma’s Blow Out, a spiritual sequel to Michelangelo Antonioni’s 1966 film Blow Up, tells the story of B-movie sound technician, Jack Terry (John Travolta), who witnesses a strange car accident while recording one night near Philadelphia’s Henry Avenue Bridge. When he rescues Sally (Karen Allen), the vehicle’s passenger, he becomes entwined in a political scandal. Echoing both Blow Up and Coppola’s The Conversation (1974), the film weaves a web of conspiracy and paranoia, as Jack and Sally, two lost and drifting souls, decide to do the right thing, exposing a plot against the governor at their own risk. Blow Out, too, is an iconic “gritty Philadelphia” film, one that seems to take joy in undercutting the city’s pride: The whole plot hinges on corrupt politicians and their operatives, there’s a “Liberty Bell Strangler” on the loose and its climactic moment of violence plays before a giant American flag during the city’s “Liberty Day” parade. The film revisits De Palma’s reoccurring obsession with voyeurism, one that suits the public spaces of Philadelphia. From the train station, to the subway, to the streets, to even the characters’ own apartments, someone’s always listening—except, of course, in the film’s ironic dénouement, when screams go unheard on the teeming city streets. —Maura McAndrew


9. Inside Llewyn Davis

inside-llewyn-davis-movie-poster.jpg Year: 2013
Directors: Ethan Coen, Joel Coen
Stars: Oscar Isaac, John Goodman, Carey Mulligan, Adam Driver, Justin Timberlake, Garrett Hedlund, F. Murray Abraham
Genre: Drama, Comedy
Rotten Tomatoes Score: 92%
Rating: R
Runtime: 105 minutes

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Llewyn Davis (Oscar Isaac) is not a good man; he tells his nephew as much, as if he’s long ago resigned himself to that reality. How long ago isn’t clear—time, when you’re crashing from couch to couch and so relentless in your artistic idealism that your problems become everyone else’s, is malleable. Has a tendency to fall back on itself, to rewind and re-begin. In 1961, Llewyn is a staple in New York’s emerging folk scene, having scored some minor attention for an album he recorded with a former partner, that partner now a success-shaped hole in Lewyn’s life. His solo album isn’t doing so well—hasn’t even been officially released by a label—though Llewyn knows he’s good, perhaps even great, despising any other artist (played by the likes of Justin Timberlake, Adam Driver and Carey Mulligan) not calibrated to his particular standards for what constitutes ethical, incisive music-making. We’re convinced that he’s good too, given long scenes of Isaac fully performing often heart-wrenching songs, Bruno Delbonnel’s camera glimpsing these forgotten images through a soft, muted haze, somehow both romanticizing and judging our memories of what that part of history could have been. Llewyn’s talent hardly matters, though; he’s lost a part of himself that could connect with an audience. If Inside Llewyn Davis is the Coen brothers’ rumination on what it would mean for their partnership to end, it’s a deeply personal confession of vulnerability and fear. If the film is a love letter to a mythologized era that may have never existed, then it is about whether or not Llewyn actually is a good man, whether or not what he represented actually means anything—whether or not he will be remembered as anything more than a Llewyn-shaped hole in the lives of all the people he let down. —Dom Sinacola


10. The Handmaiden

handmaiden-movie-poster.jpg Year: 2016
Director: Park Chan-wook
Stars: Kim Tae-ri, Kim Min-hee, Ha Jung-woo, Cho Jin-woong
Genre: Drama, Comedy, Thriller
Rotten Tomatoes Score: 95%
Rating: NR
Runtime: 145 minutes

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There are few filmmakers on Earth capable of crafting the experience of movies like The Handmaiden so exquisitely while maintaining both plot inertia and a sense of fun. (Yes, it’s true: Park has made a genuinely fun, and often surprisingly, bleakly funny, picture.) The film begins somberly enough, settling on a tearful farewell scene as Sook-hee (Kim Tae-ri) is carted off to the manor of the reclusive and exorbitantly rich aristocrat Kouzuki (Cho Jin-woong), where she will act as servant to his niece, Lady Hideko (Kim Min-hee). But Sook-hee isn’t a maid: She’s a pickpocket working on behalf of Fujiwara (Ha Jung-woo), a conman scheming to get his mitts on Hideko’s assets. (That’s not a euphemism. He only wants her for her money.) The reveal of Sook-hee’s true intentions is just the first of many on The Handmaiden’s narrative itinerary. Park has designed the film as a puzzle box where each step taken to find the solution answers one question while posing new ones at the same time. But you’re here to read about the sex, aren’t you? It’s in the sex scenes between the two Kims that Park shows the kind of filmmaker he really is. The sex is sexy, the scenes steamy, but in each we find a tenderness that invites us to read them as romance rather than as pornography. We’re not conditioned to look for humanity in pantomimes of a sexually explicit nature, but that’s exactly when The Handmaiden is at its most human. There’s something comforting in that, and in Park’s framing of deviance as embodied by the film’s masculine component. We don’t really need him to spell that out for us, but the message is welcome all the same. —Andy Crump


11. Detour

detour-criterion.jpg Year: 1945
Director: Edgar G. Ulmer
Stars: Tom Neal, Ann Savage, Claudia Drake, Edmund MacDonald
Genre: Drama, Thriller, Mystery & Suspense
Rotten Tomatoes Score: NR
Rating: NR
Runtime: 68 minutes

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A Poverty Row staple with an unknown cast peering into the post-war dark night of the soul, Detour has come to embody the best film noir has to offer—namely, that budget and schedule concerns indirectly enriched the artistic product, paring down a weightier script and even more bloated source novel into a precise, exquisitely sharp bit of storytelling economy. Trapped within the sweaty mind of always-broke jazz pianist Al Roberts (Tom Neal) as he heads West from New York to settle down with his girlfriend (Claudia Drake), a symbol of stable life for Roberts who absconded with his heart to try to “make it” in Hollywood, we’re stuck with only the unlucky guy’s version of events throughout his increasingly desperate trip. After all, his hitchhiking journey seems doomed to fail from the start, but it grows damn near bleak with the accidental cadaver-ing of a gregarious Charles Haskell (Edmund MacDonald) following a whirlwind buddy meet-cute, and then completely hopeless with the introduction of Vera (Ann Savage), an iconic femme fatale who doesn’t have to try hard to ensnare Roberts, by that point so far out of his league he’s got his pants pulled up well past his nipples. As much an efficient encapsulation of its genre as it is a noir drowning entirely within its own hell-bent nightmare, Detour is most impressive for how gracefully Ulmer can get the most out of so little. —Dom Sinacola


12. Aguirre, the Wrath of God

aquirre-movie-poster.jpg Year: 1972
Director: Werner Herzog
Stars: Klaus Kinski, Elena Rojo, Ruy Guerra, Del Negro
Genre: Drama, Thriller, Action & Adventure
Rotten Tomatoes Score: 98%
Rating: R
Runtime: 90 minutes

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The Rosetta Stone to understanding the relationship between director Werner Herzog and actor Klaus Kinski is contained within watching the way Herzog sees Kinski as Aguirre, the Conquistador circa 1560 who, through the sheer power of his belligerence, led a small army of Spaniards to their certain doom. In Kinski’s disturbing, hobbled presence, Aguirre is delusion manifest, his need to find the lost City of Gold while trekking through the unforgiving rain forests of Peru so corrupt and surreal it appears to be crippling his body from the inside out, crawling free from his heart and escaping his bug-eyes. Herzog exploits that delusion when he casts Kinski—known IRL for his self-aggrandizing optics and unbelievable cruelty—and in Aguirre, the Wrath of God is no purer sense of just how wholly Herzog knows Kinski’s true nature, letting it seep into—infect—the reality of the film itself: “Based on a true story” wasn’t so debased a cinematic term until Fargo took up the challenge decades later. Which is pretty much how Herzog treats true stories anyway—his documentary subjects he’s known to openly manipulate, and even Paul Cronin’s Werner Herzog: A Guide for the Perplexed book, a series of conversations amounting to a career retrospective, Cronin prologues with a lengthy explanation for how involved Herzog was in editing and rewriting his own interviews. What’s left in lieu of fealty to the story of Gonzalo Pizzaro’s ill-fated expedition is something so much more visceral: A reenactment of the story’s—and therefore History’s—pain, absurdity and grand illusion. —Dom Sinacola


13. Annihilation

annihilation-poster.jpg Year: 2018
Director: Alex Garland
Stars: Natalie Portman, Oscar Isaac, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson
Genre: Horror, Thriller, Science Fiction & Fantasy
Rotten Tomatoes Score: 88%
Rating: R
Runtime: 120 minutes

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Annihilation is a movie that’s impossible to shake. Like the characters who find themselves both exploring the world of the film and inexplicably trapped by it, you’ll find yourself questioning yourself throughout, wondering whether what you’re watching can possibly be real, whether maybe you’re going a little insane yourself. The film is a near-impossible bank shot by Ex Machina filmmaker Alex Garland, a would-be science fiction actioner that slowly reveals itself to be a mindfuck in just about every possible way, a film that wants you to invest in its universe yet never gives you any terra firma on which to orient yourself, a film hoping you’re as confused and terrified as the characters you’re watching, these characters played by big stars (Natalie Portman, Tessa Thompson, Gina Rodriguez, Jennifer Jason Leigh) backed by a big movie studio, a film that becomes more confusing and disorienting as it goes along. In this, it is unquestionably successful. Garland mesmerizes with his visuals, but he wants you to be off-balance; like the alien (I think?) of his movie, Garland is not a malevolent presence, but simply an observer of this world, one who follows it to every possible permutation, logical or otherwise. It’s difficult to explain Annihilation, which is a large reason for its being. Loss, and regret, and the sensation that the world is constantly crumbling and rearranging all around you every possible second: The world of Annihilation feels familiar, but only at first. Reality is fluid, and ungraspable. A little like our current reality in that way. —Will Leitch


14. Trouble Every Day

trouble-every-day-movie-poster.jpg Year: 2001
Director: Claire Denis
Stars: Beatrice Dalle, Vincent Gallo, Tricia Vessey, Alex Descas
Genre: Drama, Horror
Rotten Tomatoes Score: 49%
Rating: NR
Runtime: 102 minutes

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Messing with genre is more a means to an end for Claire Denis than it is a celebration of the Fulci phantasmagoria and giallo sensibility and Eureopean art house erotic thrillers she so clearly loves, and Trouble Every Day is her ultimately harvesting the misasma emanating from the ways in which she bends these kinds of movies to her will. The film stinks of sex and death, rolls around in it, characters licking it dripping from the corners of the screen. It follows newlyweds Dr. Shane Brown (Vincent Gallo, both hypnotized and hypnotic, as if a therapist permanently put him under) and June (Tricia Vessey) on their honeymoon in Paris, which gives Shane the perfect excuse to look up old friends Léo Sémeneau (Alex Descas) and his wife, Coré (Béatrice Dalle), with whom he appears to harbor an obsession secreted from his new spouse. With no fanfare, Denis draws us deeper into the nature of Shane’s obsession, gradually revealing that the predatory hunger Coré has for young men is so strong she begs her husband, who locks her in their house daily, to kill her, lest she kill again. Shane seems to share Coré’s affliction, contracted while working together in South America, ruining his marriage before it’s even begun, generally avoiding June throughout their time in Paris—that is until, in a hyper-violent revelation, he figures out exactly what he must do to preserve his matrimonial vowa. A cannibalistic nightmare of an exploitation film; an absurdist fairy tale; the bleakest rom-com you’ve ever seen—whatever angle one wants to pursure with Trouble Every Day, the path toward any semblance of meaning splits, refracts and multiplies, a precise understanding of what Denis intends obscured by mounds of flesh and torn viscera, by the ever-present knowledge that Denis is going to show you something you probably don’t want to see. Which must be the point: Human sexuality is an inscrutable thing, and monogamy strains against that inscrutability. Perhaps, Denis shrugs, we were never meant for one person; perhaps we were only meant to tear each other apart. —Dom Sinacola


15. Star Trek II: The Wrath of Khan

star-trek-ii.jpg Year: 1982
Director: Nicholas Meyer
Stars: William Shatner, Leonard Nimoy, James Doohan, George Takei
Genre: Science Fiction & Fantasy, Action & Adventure
Rotten Tomatoes Score: 87%
Rating: PG
Runtime: 113 minutes

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Come for the “KhaaAAHHHHHN!” and stay for the surprisingly emotional treatise on aging without wisdom—as well as one hell of a potent, humbling gut punch of an ending. Anyone arguing for any other film in the Trek franchise will find themselves speaking into a black hole chewed in the matte canvas by exquisitely potent villain, played by Ricardo Montalban. That director/co-writer also Nicholas Meyer somehow coaxes a performance from William Shatner that’s only barely un-Kosher makes this movie a space opera with broad, lasting appeal. —Scott Wold


16. The Act of Killing

act-of-killing.jpg Year: 2012
Director: Joshua Oppenheimer
Genre: Documentary
Rotten Tomatoes Score: 95%
Rating: NR
Runtime: 116 minutes

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Joshua Oppenheimer’s The Act of Killing focuses on one of the darkest chapters of the 20th century, speaking to some members of the Indonesian death squads who slaughtered hundreds of thousands of their countrymen and women in 1965 and ’66. These people don’t live in the shadows, though—instead they’re treated like royalty in their native land, celebrated as heroes who helped “save” Indonesia from communism. The film is so shocking and depressing that its subjects’ utter disconnection from morality would almost be funny if it wasn’t so frightening. Oppenheimer amplifies those conflicting reactions further by introducing a daring gambit: In the process of interviewing these butchers—who brag about raping and killing their victims (including the occasional beheading)—the director asked if they would be interested in re-creating their murders through fictionalized, filmed scenes. The men—most notably a gentleman named Anwar Congo, who was one of the death squad leaders—leapt at the chance. What follows is a literally nauseous glimpse into the minds of men who have spent decades mentally escaping the inescapable. —Tim Grierson


17. Invasion of the Body Snatchers

body-snatchers-1978-movie-poster.jpg Year: 1978
Director: Philip Kaufman
Stars: Donald Sutherland, Brooke Adams, Leonard Nimoy, Jeff Goldblum, Veronica Cartwright
Genre: Horror, Science Fiction & Fantasy
Rotten Tomatoes Score: 93%
Rating: PG
Runtime: 115 minutes

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There’s no real need for the film’s credit-limned intro—a nature-documentary-like sequence in which the alien spores soon to take over all of Earth float through the cosmos and down to our stupid third berg from the Sun—because from the moment we meet health inspector Matthew Bennell (Donald Sutherland) and the colleague with whom he’s hopelessly smitten, Elizabeth Driscoll (Brooke Adams), the world through which they wander seems suspiciously off. Although Philip Kaufman’s remake of Don Siegel’s 1956 Invasion of the Body Snatchers begins as a romantic comedy of sorts, pinging dry-witted lines between flirty San Franciscan urbanites as Danny Zeitlin’s score strangely lilts louder and louder overhead, Kaufman laces each frame with malice. Oddly acting extras populate the backgrounds of tracking shots and garbage trucks filled with weird dust fluff (which we eventually learn spreads the spores) exist at the fringes of the screen. The audience, of course, puts the pieces together long before the characters do—characters who include Jeff Goldblum at his beanpole-iest and Leonard Nimoy at his least Spock-iest—but that’s the point: As our protagonists slowly discover that the world they know is no longer anything they understand, so does such simmering anxiety fill and then usurp the film. Kaufman piles on more and more revolting, unnerving imagery until he offers up a final shot so bleak that he might as well be punctuating his film, and his vision of modern life, with a final, inevitable plunge into the mouth of Hell. —Dom Sinacola


18. High Life

high-life-movie-poster.jpg Year: 2019
Director: Claire Denis
Stars: Robert Pattinson, Juliette Binoche, Mia Goth, André Benjamin
Genre: Drama, Horror, Science Fiction & Fantasy
Rotten Tomatoes Score: 82%
Rating: R
Runtime: 110 minutes

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High Life begins with a moment of intense vulnerability, followed immediately by a moment of immense strength. First we glimpse a garden, verdant and welcoming, before we’re ushered to a sterile room. There we realize there’s a baby alone while Monte (Robert Pattinson), her father maybe, consoles her, talking through a headset mounted within his space helmet. “Da da da,” he explains through the intercom; the baby starts to lose her shit because he’s not really there, he’s perched outside, on the surface of their basic Lego-piece of a spaceship, just barely gripped on the edge of darkness. They’re in space, one supposes, surrounded by dark, oppressive nothingness, and he can’t reach her. They’re alone. Next, Monte empties their cryogenic storage locker of all the dead bodies of his once-fellow crew members, lifting their heavy limbs and torsos into space suits, not because it matters, but maybe just because it’s something to do to pass the time, as much a sign of respect as it is an emotional test of will. Monte looks healthy and capable, like he can withstand all that loneliness, like he and his daughter might actually make it out of this OK, whatever this is. High Life lives inside that juxtaposition, displaying tenderness as graphically as violence and anger and incomprehensible fear, mining all that blackness surrounding its characters for as much terror as writer-director Claire Denis can afford without getting obvious about it. Pattinson, flattened and lithe, plays Monte remarkably, coiled within himself to the point that he finishes every word deep in his throat, his sentences sometimes total gibberish. He doesn’t allow much to escape his face, but behind his eyes beams something scary, as if he could suddenly, and probably will, crack. He says as much to Willow, his kid, whispering to her while she sleeps that he could easily kill them both, never wanting to hurt her but still polluting her dreams. He can’t help it, and neither can Denis, who, on her 14th film (first in English), can make an audience believe, like few other directors, that anything can happen. Madness erupts from silence and sleep, bodily fluids dripping all over and splattering throughout and saturating the psyches of these criminal blue collar astronauts, the overwhelming stickiness of the film emphasizing just how intimately close Denis wants us to feel to these odd, sick fleshbags hurtling toward the edge of consciousness. —Dom Sinacola


19. Mission: Impossible – Fallout

mission-impossible-fallout-movie-poster.jpg Year: 2018
Director: Christopher McQuarrie
Stars: Tom Cruise, Ving Rhames, Simon Pegg, Rebecca Ferguson, Henry Cavill, Angela Bassett, Alec Baldwin, Sean Harris, Michelle Monaghan
Genre: Action & Adventure, Mystery & Suspense
Rotten Tomatoes Score: 97%
Rating: PG-13
Runtime: 147 minutes

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At some point midway through Mission: Impossible – Fallout—the sixth entry in the franchise and director Christopher McQuarrie’s unprecedented second go at helming one of these beasts—CIA brute Austin Walker (Henry Cavill) asks his superior, CIA Director Erica Sloane (Angela Bassett), how many times she thinks Übermensch Ethan Hunt (Tom Cruise) will put up with his country screwing him over before he snaps. Walker’s question is rhetorical, intended to convince Sloane that Hunt is actually John Lark, the alias of a shadowy conspirator planning to buy stolen plutonium whom he and Hunt also happen to be chasing, but the question is better put before Cruise, the film’s bright, shining star. It’s a question that hangs over this dependably mind-blowing action flick more obviously than any installment to come before: How long can 56-year-old Cruise keep doing this before he, truly and irrevocably, snaps? Fallout never offers an answer, most likely because Cruise won’t have one until his body just completely gives out, answering for him by default. Fallout shows no real signs of that happening any time soon. What it does show is a kind of blockbuster intuition for what makes our enormous action brands—from Fast and the Furious to the MCU—thrive, behind only Brad Bird’s Ghost Protocol as the best of the now 22-year endeavor. Where Bird leaned into the franchise as a literalization of its title, redefining the series by balancing the absurdity of what Cruise was impossibly doing (the Burj Khalifa scene is one of the greatest action sequences ever) with the awe of bearing witness to what a human person could accomplish if devoid of all Thetans, McQuarrie considers the two pretty much the same thing. The only reaction worthy of such absurdity is awe—and the only American tentpole films worth our awe anymore are those deemed Mission: Impossible. It’s all so goddamned beautiful. I love these movies. —Dom Sinacola


20. You Were Never Really Here

never-really-here-movie-poster.jpg Year: 2018
Director: Lynne Ramsay
Stars: Joaquin Phoenix, Ekaterina Samsonov, John Doman, Judith Roberts, Alex Manette, Alessandro Nivola
Genre: Drama, Thriller
Rotten Tomatoes Score: 89%
Rating: R
Runtime: 89 minutes

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Lynne Ramsay has a reputation for being uncompromising. In industry patois, that means she has a reputation for being “difficult.” Frankly, the word that best describes her is “unrelenting.” Filmmakers as in charge of their aesthetic as Ramsay are rare. Rarer still are filmmakers who wield so much control without leaving a trace of ego on the screen. If you’ve seen any of the three films she made between 1999 and 2011 (Ratcatcher, Morvern Callar, We Need to Talk About Kevin), then you’ve seen her dogged loyalty to her vision in action, whether that vision is haunting, horrific or just plain bizarre. She’s as forceful as she is delicate. Her fourth film, You Were Never Really Here—haunting, horrific and bizarre all at once—is arguably her masterpiece, a film that treads the line delineating violence from tenderness in her body of work. Calling it a revenge movie doesn’t do it justice. It’s more like a sustained scream. You Were Never Really Here’s title is constructed of layers, the first outlining the composure of her protagonist, Joe (Joaquin Phoenix, acting behind a beard that’d make the Robertson clan jealous), a military veteran and former federal agent as blistering in his savagery as in his self-regard. Joe lives his life flitting between past and present, hallucination and reality. Even when he physically occupies a space, he’s confined in his head, reliving horrors encountered in combat, in the field and in his childhood on a non-stop, simultaneous loop. Each of her previous movies captures human collapse in slow motion. You Were Never Really Here is a breakdown shot in hyperdrive, lean, economic, utterly ruthless and made with fiery craftsmanship. Let this be the language we use to characterize her reputation as one of the best filmmakers working today. —Andy Crump


21. Sunset Boulevard

sunset-boulevard.jpg Year: 1950
Director: Billy Wilder
Stars: William Holden, Gloria Swanson, Erich von Stroheim
Genre: Drama
Rotten Tomatoes Score: 98%
Rating: G
Runtime:111 minutes

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Billy Wilder’s meta noir is a doozy, an unfailingly cynical critique of showbiz and a portrait of postwar alienation projected on the microcosm of Hollywood. It’s also wickedly funny in Sahara dry fashion, from the opening words of our dead narrator—floating facedown in his killer’s swimming pool—to Norma Desmond’s concluding descent down her staircase, and the rabbit hole. Gloria Swanson is magnificent and sad as Ms. Desmond, a fading beauty of the silent screen who manipulates broke, hackish screenwriter Joe Gillis (William Holden) into becoming her boy toy. Theirs is a fated relationship from the get-go, she of the wordless era, he dependent on them for his very livelihood. They’re on the outs with their industry, and each other, yet coexist out of desperation. Wilder, who co-wrote with Charles Brackett and D. M. Marshman Jr., layered the script with in-joke upon self-referential wink, perhaps the least of which is Desmond’s passion project, about that OG of femme fatales, Salome. There’s a parade of Hollywood cameos, namechecks, and behind-the-scenes instances of “art imitating life” (and vice versa); for example, Erich von Stroheim, who portrays Desmond’s former director/first husband-turned-still lovestruck butler Max, directed Swanson in 1929’s Queen Kelly (excerpted here) before she as the film’s producer fired him, much like her Sunset Blvd. character discards his. Many of these nods were in less-than-good fun, so it’s no shock that Sunset Boulevard met with local disdain, yet Wilder doesn’t flinch. Norma, Joe, Max … they’re all unwanted souls who, try as they might to live in the past, have succumbed to the present—in Joe’s case, most finally. The smoke and mirrors of Tinseltown, of life, don’t do the job anymore (though cinematographer John Seitz, who also lensed Double Indemnity, most certainly did, sprinkling dust into the air for the lights to catch). Desmond may be a seductress past her sell-by date, but Hollywood is the ultimate femme fatale, who chews suckers up and spits them out. Sunset Boulevard gives L.A. its close-up, alright. —Amanda Schurr


22. Lady Bird

lady-bird-movie-poster.jpg Year: 2017
Director: Greta Gerwig
Stars: Saoirse Ronan, Laurie Metcalf, Tracy Letts, Lucas Hedges, Beanie Feldstein, Timothee Chalamet
Genre: Drama, Comedy
Rotten Tomatoes Score: 99%
Rating: R
Runtime: 93 minutes

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Before Christine “Lady Bird” McPherson (Saoirse Ronan)—Lady Bird is her given name, as in “[she] gave it to [her]self”—auditions for the school musical, she watches a young man belting the final notes to “Being Alive” from Stephen Sondheim’s Company. A few moments before, while in a car with her mother, she lays her head on the window wistfully and says with a sigh, “I wish I could just live through something.” Stuck in Sacramento, where she thinks there’s nothing to be offered her while paying acute attention to everything her home does have to offer, Lady Bird—and the film, written and directed by Greta Gerwig, that shares her name—has ambivalence running through her veins. What a perfect match: Stephen Sondheim and Greta Gerwig. Few filmmakers are able to capture the same kind of ambiguity and mixed feelings that involve the refusal to make up one’s mind: look to 35-year-old Bobby impulsively wanting to marry a friend, but never committing to any of his girlfriends, in Company; the “hemming and hawing” of Cinderella on the, ahem, steps of the palace; or Mrs. Lovett’s cause for pause in telling Sweeney her real motives. Lady Bird isn’t as high-concept as many of Sondheim’s works, but there’s a piercing truthfulness to the film, and arguably Gerwig’s work in general, that makes its anxieties and tenderness reverberate in the viewer’s heart with equal frequency. —Kyle Turner


23. American Gigolo

american-gigolo-movie-poster.jpg Year: 1980
Director: Paul Schrader
Stars: Richard Gere, Bill Duke, Lauren Hutton, Hector Elizondo
Genre: Drama
Rotten Tomatoes Score: 68%
Rating: R
Runtime: 116 minutes

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In 1980’s American Gigolo, Richard Gere’s high-priced escort Julian knows what he’s good at, and proud of it, too. His clients are predominantly older women, women whose husbands, in his understanding, have forgotten them, or whose desires and need for pleasure have been discarded. His ability to satisfy them—he calls this “a challenge” he is up to—gives him fulfillment, the implication of meaning in his life. That life, otherwise, is organized; there is a routine to his actions. His home is modern, defined by the intentional affectation of someone putting on appearances. That’s what he does for a living: He puts on appearances. Julian’s image aspires to be the most charming and eligible man, even when he’s playing naïve, as he does with one client. He feigns stupidity, though when he does so as a simple chauffeur, he exudes the kind of sex appeal that’s only natural because it’s so practiced. He works out, sculpts himself. When he places his clothes on the bed (they’re Armani), he crafts the best version of himself to sell to others. Julian has standards when it comes to tricks: no kink, no fag stuff. But those standards, and the secrets he’s kept so well for the women that have employed him, fall apart when he becomes embroiled in a murder case, the victim being one of his tricks. As he loses all sense of himself and the control he once thought he had over his world, the meticulously created artifice of his life dissolves rapidly. Though Julian is (ostensibly) heterosexual, American Gigolo is a queer film by virtue of its form. Schrader imbues the film with queer aesthetics, its Californian, neon-painted fakeness, its kitschy set design (the loudest furniture juxtaposed against the most austere symmetry) and its little dose of Blondie, “Call Me” blaring at the beginning of the film. One of his pimps, Leon (Bill Duke) is gay and black, and the affair he carries on with Michelle Stratton (Lauren Hutton), the wife of a well-known politician, feels like a stiff fantasy. Masculinity is a prison, the film almost seems to suggest, as the masculine self Jules so dutifully crafted begins to sour and fall apart. His world sinks, and he’s left with almost no one. The men in Paul Schrader’s films are undone by the feeble attempts to preserve restrictive ideals of masculinity: One event sets off a chain reaction, a domino effect for the undoing of the self. The curated acts, the sculpting, that Julian commits to are flimsy, revealing that, once one peels back each layer of “manhood,” inside is something vacant, an abyss of loneliness and anxiety. —Kyle Turner


24. The Florida Project

florida-project-movie-poster.jpg Year: 2017
Director: Sean Baker
Stars: Willem Dafoe, Bria Vinaite, Brooklyn Prince, Valeria Cotto, Christopher Rivera, Caleb Landry Jones
Genre: Drama, Comedy
Rotten Tomatoes Score: 96%
Rating: R
Runtime: 115 minutes

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However useful a surreal approach to reframing paradise may be, Sean Baker’s new film, The Florida Project, presents a more acute critique. Baker plunges his audience into his worlds through the lens of social realism, his camera on the same playing field as Moonee (Brooklynn Prince), her mother Halley (Bria Vinaite) and the manager of the motel they live in, Bobby (Willem Dafoe). The camera lives with the characters, watches them haul a bed-bug-infested mattress outside, or sit and eat pancakes by a small creek-ish ditch. Nothing climactic happens in these scenes, we just get to watch and not pass judgment—or pass judgment, whatever, it’s up to us. Baker never interferes; the equality of these scenes under the eye of his camera makes his film’s pointed ideas about survival and joy all the more striking. The film may be buoyed with a sense of humor and, occasionally, wonder, but Halley’s life is framed by an internal struggle over whether humor and wonder can help her retain her autonomy at all in spite of her class status. The Florida Project is spattered with profound sadness, with moments of externalized, violent frustration at presumed helplessness, at practically being born into all this. To what degree you believe Baker to be condescending or patronizing or exploitive is up to you, but the film’s bursts of light, its idea of what caregiving looks like when caregiving is a privilege, is handled with sensitivity. When the film switches from 35mm to digital in its final shots, Baker imbues his camera, now mobile, with freewheeling liberation. No matter what happens after The Florida Project ends, in those last moments, these kids are born to live. —Kyle Turner


25. The Souvenir

souvenir-movie-poster.jpg Year: 2019
Director: Joanna Hogg
Stars: Honor Swinton-Byrne, Tom Burke, Tilda Swinton, Richard Ayoade, Jack McMullen
Genre: Drama
Rotten Tomatoes Score: 90%
Rating: R
Runtime: 119 minutes

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Hogg’s work extends back to the mid-to-late 1980s, when she made her first short film, worked on BBC miniseries, and began directing TV shows. She started making feature movies in 2007 with Unrelated and somewhat steadily continued down that path with Archipelago (2010) and Exhibition (2013). Her latest film is perhaps her best to date, certainly her most personal, and without a doubt one of the year’s most remarkable releases so far. Rooted in her experiences as an artist and based, in part, on entries in her own diary, The Souvenir settles into the perspective of Julie (Honor Swinton-Byrne), a demure film student in 1980s London prepping for her graduation project, a drama of working-class proportions ringing of kitchen sink realism à la Mike Leigh or Tony Richardson. The question of her credentials, and of whether she has either the right or the perspective to make a film about the hard lives led by Sunderland’s laborers, is raised early on and repeated throughout, both by her professors and her beau, Anthony (Tom Burke). Like Julie, Anthony is possessed of privilege, which makes his comments especially condescending: Who the hell is he to talk to her about privilege in the first place? Admittedly, he has an occasional point, but while these points are made, the movie takes careful, quiet note that every voice critiquing Julie happens to be male. So it goes in a man’s field in a man’s world in the ’80s. Rather than seize on this imbalance to make an argument, Hogg instead lets it serve as fodder for reflection. Timid women on paths of self-discovery recur throughout her filmography, most of all Unrelated, a heartbreaking movie that, much like The Souvenir, takes unexpected turns without telegraphing or forcing them. A hushed, unassuming, intimate movie, Hogg’s latest reminds audiences of the power of cinema by interrogating the definition of cinema itself. Cinema lets people reckon with life (others’ or their own), and it lets them reckon with their privilege (be it their lack or surplus). Julie sees the world as cinema because the world is cinema. Taken together, it all makes this particular Souvenir as close to an instant masterpiece as movies can get. —Andy Crump


26. The Conversation

TheConversation.jpg Year: 1974
Director: Francis Ford Coppola
Stars: Gene Hackman, John Cazale, Harrison Ford, Allen Garfield, Frederic Forrest, Cindy Williams
Genre: Drama, Thriller
Rotten Tomatoes Score: 98%
Rating: PG
Runtime: 113 minutes

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The really incredible fact about this film is that Coppola made it as a side project between Godfather movies. Starring Gene Hackman, The Conversation is the story of a surveillance technician coming face to face with the implications of his job, and the paranoia of being watched at every moment. It was nominated for Best Picture in 1974, an award that went to The Godfather, Part II. It’s one of the rare times in film history when a director has lost to himself. —Shane Ryan


27. Millennium Actress

millennium-actress-movie-poster.jpg Year: 2001
Director: Satoshi Kon
Stars: Miyoko Shoji, Mami Koyama, Fumiko Orikasa, Shouzou Iizuka
Genre: Drama, Animation, Romance
Rotten Tomatoes Score: 93%
Rating: PG
Runtime: 87 minutes

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Satoshi Kon’s second film, Millennium Actress, builds off the themes of cinema and celebrity previously explored in his debut Perfect Blue, instead casting them in the mold of a metafictional fairytale quest for love. Inspired by the lives of Setsuko Hara and Hideko Takamine, two of Japan’s premiere early-century stars, Millennium Actress follows the story of Chiyoko Fujiwara, a reclusive septuagenarian who recounts the story behind her illustrious career as a film actress when approached by a pair of interviewers eager to film a documentary. One of Kon’s signature motifs as a director is the mutability of reality and fantasy, exploring how the two constantly dovetai into one another, creating works that speak to the multiplicity of the human experience. Millennium Actress is a prime example of this, with the film’s presentation constantly assaulting the fourth wall, blending factual events and cinematic flair until the two are inseparable. Unlike most of his contemporaries, Kon was not satisfied to look only toward the insular vacuum of genre anime for inspiration, but instead looked to such works as George Roy Hill’s 1972 adaptation of Slaughterhouse-Five, a film whose use of scene cuts and transitions play a huge role in distinguishing Millennium Actress among other films of its time. Combining references to the physical comedy of Buster Keaton, Akira Kurosawa’s Throne of Blood and Hiroshi Inagaki’s Rickshaw Man, Millennium Actress is a testament to Kon’s enduring love of cinema. It deserves to be seen, examined and cherished for years to come. —Toussaint Egan


28. Zama

zama-movie-poster.jpg Year: 2018
Director: Lucrecia Martel
Stars: Daniel Giménez Cacho, Lola Dueñas, Matheus Nachtergaele, Juan Minujín, Daniel Veronese
Genre: Drama, Comedy
Rotten Tomatoes Score: 96%
Rating: NR
Runtime: 115 minutes

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Early in Lucrecia Martel’s Zama, her dreamy intent and languid images begin to nestle into place. First we witness Spanish corregidor (“mayor”) Don Diego de Zama (Daniel Giménez Cacho, whose eyes bear lifetimes of disappointment and resignation) on the shore of a nondescript river, in charge of a desolate Spanish colonial outpost in the middle of nowhere South America, though he seems to be more inhabiting it than litigating its quotidian. Catching a group of native women bathing, he steals a glance but is immediately found out, chased from the beach. Slapping one of the women to assert his dominance, Zama’s violent reaction feels preposterous, the response of a person with no control over himself, or his lot in life. This land rejects this sad man.

Director Lucrecia Martel and cinematographer Rui Poças (whose worked with Miguel Gomes and, recently, with João Pedro Rodrigues on the exquisitely pretty The Ornithologist) dedicate nearly every frame to Zama’s melancholy maundering, though rarely allowing him the dignity to ever be the most interesting figure in any particular shot, that is, when they aren’t up close, searching his lined mug for something representing courage or assertiveness. Stranded in a thankless government job, not so much forgotten by the system as just avoided, Zama is a colonist renounced by both the colonized and colonizers. Zama is literally post-colonial: Colonists negate Diego de Zama’s colonialism by negating him, an equation Martel and Poças externalize by photographing with foreboding beauty the jungle around the pathetic man, reducing him to a meaningless, replaceable figure amidst effortlessly mighty landscapes. “Do you want to live?” Zama’s asked at the end of the film. He doesn’t respond. With her third film, Lucrecia Martel wonders, in wide swathes of unmitigated wilderness and weird, inexplicable poetry, just how far one’s wants can go. Bewitching and masterfully rendered, Zama is an elegant, ravishing, often delightfully strange achievement. It is reportedly the result of an interminable production process, of a difficult and substantial edit, of a novel that resists adaptation. It wants little more than to reach out in all directions, to peer into the void, knowing deep down that the void can’t be bothered to peer back. —Dom Sinacola


29. A Field in England

a-field-in-england-movie-poster.jpg Year: 2013
Director: Ben Wheatley
Stars: Reece Shearsmith, Julian Barratt, Richard Glover
Genre: Drama, Comedy, Horror
Rotten Tomatoes Score: 86%
Rating: NR
Runtime: 90 minutes

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In the 17th century, amidst the buffered explosions and death rattles of the English Civil War—that always seems just over the ridge—three men meet a fourth who feeds them psychotropic mushrooms and then herds them to a fifth, who forces them to search for buried treasure in the middle of A Field in England. Co-written with partner Amy Jump, Ben Wheatley’s fourth film fails the Bechdel Test so tremendously it practically suffers Ego Death, obliterating all barriers—physical and temporal and whatever else—to be as much about the relentlessly stupid nature of masculine power dynamics as it is about the experience of losing oneself within the sensation of total loss. In an otherwise incoherent tale of men abusing men, Wheatley strips back elemental layer after layer, revealing emptiness within emptiness. Story, logic, none of it seems to matter, nothing matters, everything is mutable and transigent and malcontent—except for a hair of sympathy threaded through everything, the sense that were all of these men to give up on each other entirely, whatever’s going on would spin out beyond all recognition. And so, a man called Whitehead (Reece Shearsmith) offers to inspect the genital warts (which we get to inspect too!) of his new vagabond friend Trower (Julian Barratt), out of the kindness of Whitehead’s heart, while a man called Friend (Richard Glover), upon his death, confesses his love for his wife’s sister, describing the manner in which they had sex to his recently close companions with unexpected, moving intimacy. Skirting the madness, Blanck Mass’s score sweeps from baroque ditties to vast and sparkling soundscapes, especially arresting for how strangely Wheatley uses them, willing to show the characters in his film how easily, how meaninglessly, he can bend the world around them to his pointless will. A man on a leash running out of a tent in slow-motion? Is that a Waiting for Godot reference? Mesmerized for mesmerization’s sake, one weeps at the beauty. —Dom Sinacola


30. Midnight Cowboy

midnight-cowboy-poster.jpg Date: 1969
Director: John Schlesinger
Stars: Jon Voight, Dustin Hoffman
Genre: Drama
Rotten Tomatoes Score: 90%
Rating: NR
Runtime: 113 minutes

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In this film by British director John Schlesinger, Jon Voight plays a Texan with a troubled past who comes to the big city trying to make a career as a gigolo. Enter his pal, Ratso Rizzo, played by the great and grating Dustin Hoffman. Midnight Cowboy was rated X upon release for homosexual content that would hardly raise an eyebrow today, and remains the only film of that category to ever win an Oscar, much less the Best Picture award it captured in 1970. (The only other X-rated film to be nominated was Kubrick’s A Clockwork Orange.) Second on the list of the decade’s greatest actors is Dustin Hoffman. Along with Midnight Cowboy, he starred in the seminal The Graduate, the western epic Little Big Man, Sam Peckinpah’s terrifying classic Straw Dogs, the controversial Lenny (a hopeless Best Picture nominee in the 1974 class with The Conversation and The Godfather, Part II), All the President’s Men, Marathon Man and Kramer vs. Kramer. But his incredible turn as Ratso Rizzo is still the greatest performance of his career, and the chemistry between him and his physical opposite is one of the best and most unusual friend dynamics in film history, hilarious and ultimately heartbreaking. —Shane Ryan


31. Hale County This Morning, This Evening

hale-county-movie-poster.jpg Year: 2018
Director: RaMell Ross
Genre: Documentary
Rotten Tomatoes Score: 97%
Rating: NR
Runtime: 76 minutes

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In Hale County This Morning, This Evening, seeing truly is believing, or at least comprehending, because putting what filmmaker RaMell Ross has done into words is as close to impossible as writing about film can get. A portrait of Alabama’s Hale County—a place named for Deputy to the Provisional Congress of the Confederate States and career racist Stephen F. Hale—as well as a glimpse into the lives of Ross’s family, friends and neighbors, the film defies documentarian conventions through structure and language: There are no talking heads, no bland expositional devices, only stream of consciousness storytelling occasionally interspersed with intertitles that playfully, but soberly, fill in the names of Ross’s subjects, or provide context we would certainly lack without them. In its interior, free-associative way, Hale County This Morning, This Evening is thrilling, a word not often used for characterizing slice-of-life documentaries. (In line with that: If possible, it must be seen on the big screen, too.) Ross boils down lifetimes and the passage of days, weeks, months, perhaps even beyond, into 70 minutes, and, as a result, the movie ultimately lives in between the passage of seconds. Rather than feel compressed, Hale County This Morning, This Evening emerges sweeping and grand, an elusive, awesome American fable. —Andy Crump


32. The 36th Chamber of Shaolin

36th-chamber-movie-poster.jpg Year: 1978
Director: Lau Kar-leung
Stars: Gordon Liu, Lo Lieh, Norman Chu, Lau Kar-wing
Genre: Martial Arts, Action & Adventure
Rotten Tomatoes Score: NR
Rating: R
Runtime: 109 minutes

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This is why any kung fu fan will always love Gordon Liu. The 36th Chamber of Shaolin is as classic as it gets: the definitive Shaolin movie, without a doubt, and the source of Liu’s nickname, “Master Killer.” He plays San Te, a young student wounded when his school is culled by the Manchu government, so he flees to the refuge of the Shaolin temple. After toiling as a laborer, he finally earns the right to learn kung fu, which begins the film’s famous training sequences. The 36th Chamber of Shaolin is the rare film where those training sequences actually outshine its traditional fights, because they’re just so beautiful, fluid and inventive. In each of the 36 chambers, San Te must toil to discipline his body, mind, reflexes and will. They make up the whole center of the film, and are unforgettable, bearing an iconic gravitas, imbuing kung fu with a great dignity. Because true kung fu can only be attained through the greatest of sacrifice. —Jim Vorel


33. Blood and Black Lace

blood and black lace poster (Custom).jpg Year: 1964
Director: Mario Bava
Stars: Cameron Mitchell, Eva Bartok, Thomas Reiner
Genre: Horror
Rotten Tomatoes Score: 86%
Rating: NR
Runtime: 90 minutes

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Blood and Black Lace plays like a missing link between Psycho or Peeping Tom and the classic “body count” slashers of the early 1980s, with a significantly more misanthropic attitude reveling in its on-screen violence. Perhaps the single most influential giallo film ever made, it codified some of the early tropes of a nascent film genre, innovated a few new ones of its own and did so with a sumptuous visual aesthetic that proved difficult for any of its imitators to match. In a career full of classics, it is perhaps Bava’s prettiest and most drum-tight film. The action takes place in a cavernous fashion house where high-end models are dressed, primped and prepared to don their haute couture and walk the runway, offering ample opportunity for the camera to both leer at a bevy of young women and examine the way they’re degraded by their industry, which treats them as little more than domesticated animals. When one of the company’s girls is violently murdered, it throws the entire organization into an uproar, with suspicion landing on almost every person employed in the building. What are we to make of the fact that none of the deaths can be traced to any individual? Bava ultimately uses a variety of simple (but effective) tricks to divert the audience’s suspicions until his big reveal. It’s the set-up for an old-fashioned murder mystery, but Blood and Black Lace also deviates from its forebears by being less concerned about the mystery and suspects on hand than it is with the killings themselves. This truly feels like a ground zero for the pulpy, grindhouse aesthetic that prioritizes cinematic death sequences, and the manner of the deaths, above all else. The unfortunate crew of models in the film bite the dust in all manner of ways, both inventive and notably grisly for the time, whether it’s burned to death by being pushed against a hot furnace, drowned in the bathtub or being stabbed through the face with a spiked glove. The film makes it clear: You are there to watch people die, and die in the most stylish way possible. —Jim Vorel


34. Nosferatu: Phantom der Nacht

nosferatu-herzog-movie-poster.jpg Year: 1979
Director: Werner Herzog
Stars: Klaus Kinski, Isabelle Adjani, Bruno Ganz
Genre: Horror
Rotten Tomatoes Score: 95%
Rating: PG
Runtime: 107 minutes

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Werner Herzog recreates the cornerstone of vampire cinema (and German expressionist filmmaking, for that matter) through an ever-mounting nightmare of unsettling, disjointed vignettes. Which isn’t anything new for the German director, but his methods and sensibility do lend themselves naturally to the language of phantasmagoria, as he tells a well-known story via one subconscious-upending image after another. As in any Herzog film, the story is never intended to hold together flawlessly—only barely logically—but to imprint indelibly upon the insides of the viewers’ eyelids the stark silhouette of evil borne absurdly from the primeval fear in all of us. That Klaus Kinski also plays Count Dracula means that madness bristles at the edge of every manicured line of chiaroscuro: Nosferatu revels in the beauty of horror. In fact, Roger Ebert said, “Here is a film that does honor to the seriousness of vampires. No, I don’t believe in them. But if they were real, here is how they must look.” —Dom Sinacola


35. Manchester by the Sea

manchester-by-sea-movie-poster.jpg Year: 2016
Director: Kenneth Lonergan
Stars: Casey Affleck, Michelle Williams, Lucas Hedges, Kyle Chandler
Genre: Drama
Rotten Tomatoes Score: 96%
Rating: R
Runtime: 135 minutes

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Loss and grief—and the messy, indirect ways people cope with the emotional fallout—were the dramatic linchpins of writer-director Kenneth Lonergan’s first two films, You Can Count on Me and Margaret. And so it is again with Manchester by the Sea, a commanding, absorbing work in which the sum of its impact may be greater than any individual scenes. As opposed to the intimate, short-story quality of You Can Count on Me, Manchester by the Sea bears the same sprawling ambition as Margaret, Lonergan draping the proceedings in a tragic grandeur that sometimes rubs against the film’s inherently hushed modesty. Casey Affleck as Lee Chandler is quietly magnetic as a man who can’t express himself at a time when he really needs to step up and be the patriarchal figure. Lucas Hedges and Kyle Chandler are also both quite good, their characters buried deep in the man’s-man culture of the East Coast communities in which the film is set. But especially terrific is Michelle Williams as Lee’s ex-wife, who has played haunted wives before, in Brokeback Mountain and Shutter Island. Here, though, she really pierces the heart: Her character never stopped loving Lee, but her brain told her she had to if she was ever going to move on with her life. In this film, she’s actually one of the lucky ones. Tragedies drop like bombs in Manchester By the Sea, and the ripple effects spread out in all directions. The movie’s ending isn’t exactly happy, but after all the Chandlers have gone through, just the possibility of acceptance can feel like a hard-earned victory. —Tim Grierson


36. Eighth Grade

eighth-grade-movie-poster.jpg Year: 2018
Director: Bo Burnham
Stars: Elsie Fisher, Josh Hamilton, Emily Robinson, Jake Ryan, Catherine Olivier, Daniel Zolghadri
Genre: Drama, Comedy
Rotten Tomatoes Score: 99%
Rating: R
Runtime: 94 minutes

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In Eighth Grade, the feature debut of comedian-singer-songwriter Bo Burnham, you’re either a Kayla (Elsie Fisher) or you know a Kayla from your days as an over-it-all punk-ass. The distinction is key to your experience. The film stages a too-real reenactment of middle school’s rigors, but it’s the people we endure those rigors with who shape our turbulent pubescence. Sure, sitting through Ms. Hawking’s ornithology lessons was hell, but hell’s preferable to striking up conversation with your classmates. Burnham uses the awkward terrain of juvenile social interaction as Eighth Grade’s focal point, painting the daunting exercise of talking to other kids as a stairway to embarrassment. We meet Kayla pre-humiliation, recording clips for her YouTube channel in her room, dispensing life advice in the coltish manner of a newly minted teen. She’s extraordinarily inarticulate, but in her ramblings we find the profound insight only a 13-year-old can offer. “Aren’t I always being myself?” she says to her camera, the sage instructing the benighted. “Well, yeah, for sure.” She’s a self-help layman, but her sincerity is charming. Don’t change who you are to impress others. Words to live by. Kayla, like anyone else trying to stay afloat in the sometimes cutthroat world of middle school, sells out her ideals almost immediately, a defensive posture to deflect her loneliness. Being a teenage girl isn’t easy. Occasionally, it’s perilous. That Eighth Grade so genuinely conveys those difficulties and dangers is miraculous considering its source. Burnham invites us to recall our own adolescence, and also to consider how adolescence has changed in the time of social media. It’s compassionate, radiating retroactive kindness for the children we all were to soothe the adults we are now. —Andy Crump


37. Leave No Trace

leave-no-trace-movie-poster.jpg Year: 2018
Director: Debra Granik
Stars: Ben Foster, Thomasin McKenzie, Dale Dickey, Dana Millican, Jeff Kober, Alyssa Lynn
Genre: Drama
Rotten Tomatoes Score: 100%
Rating: PG
Runtime: 109 minutes

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It takes all of Leave No Trace before anyone tells Will (Ben Foster) he’s broken. The man knows, perhaps ineffably, that something’s fundamentally wrong inside of him, but it isn’t until the final moments of Debra Granik’s film that someone gives that wrongness finality, that someone finally allows Will to admit—and maybe accept—he can’t be fixed. Why: Granik affords us little background, save tattoos and a few helicopter-triggered flashbacks and a visit to the hospital to acquire PTSD meds all implying that Will is a military vet, though what conflict he suffered and for how long remains a mystery. As does the fate of Will’s deceased wife, mother to teenage girl Tom (Thomasin McKenzie). As does the length of time Will and his daughter have been living off the grid, hidden within the more than 5,000 acres of Portland’s Forest Park, a damp, verdant chunk of the city’s northwest side overlooking the Willamette River. As does the pain at the heart of Leave No Trace, though it hurts no less acutely for that. Toward the end of this quietly stunning film, Tom shows her father a beehive she’s only recently begun to tend, slowly pulling out a honeycomb tray and tipping a scrambling handful of the insects into her cupped palm without any fear of being stung. Will looks on, proud of his daughter’s connection to such a primal entity, knowing that he could never do the same. Will begins to understand, as Tom does, that she is not broken like him. Leave No Trace asserts, with exquisite humanity and a long bittersweet sigh, that the best the broken can do is disappear before they break anyone else. —Dom Sinacola


38. Transit

transit-movie-poster.jpg Release Date: 2019
Director: Christian Petzold
Stars: Franz Rogowski, Paula Beer, Godehard Giese, Lilien Batman, Maryam Zaree, Matthias Brandt, Barbara Auer
Genre: Drama
Rotten Tomatoes Score: 94%
Rating: NR
Runtime: 101 minutes

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In Christian Petzold’s Transit, based on Anna Segher’s WWII-based novel of the same name, the writer-director strips all context from his story, but not by pulling it out of time. Instead, Petzold’s limned his adaptation in modern technologies and settings—contemporary cars line the streets of today’s Marseille; flat screens hang unimpressively in bars; military police dress in black riot gear, not a swastika in sight—though no one uses a cell phone or a computer, doomed to repeat themselves in bureaucratic offices and waiting in endless lines, all while the enemy, an occupational force, quickly sweeps across France. Odd and surprisingly high-concept, though never pleased with itself, Transit removes context by confusing it, treating its characters as if they’re in a kind of existential wartime limbo, forever fated to keep looking: for escape, for a lost loved one, for some food to eat or a bed to lie in, for a reason to keep enduring. Transit could’ve been a sci-fi drama were its characters ever shown an alternate reality. One character, Georg (Franz Rogowski) is a German refugee scratching his way through his adopted country, tasked with delivering letters and documents to a writer named Weidel, but, upon arriving, discovers the writer’s committed suicide (leaving an awful mess for the hotel staff). Hearing that the German forces are quickly consuming France, Georg travels to Marseille, where he hopes to make accommodations to leave before the Axis powers arrive, taking with him the identity of Weidel and an omnipresent narrator (Matthias Brandt) who speaks of Dawn of the Dead and Georg’s every emotion even though the narrator never hides that he’s the bartender of the bar Georg silently frequents, piecing together this long forlorn story Georg’s woven for him. Georg isn’t aloof or indifferent or even remotely manipulative, just adrift, and not long after he sets up camp in Marseille, he realizes the beautiful and strange woman who floats through the streets and consulates tapping men on the shoulder is Marie (Paula Beer), Weidel’s widow, looking for her husband. Only Georg knows he’s dead; Georg falls in love with Marie. Though touch screen technology obviously exists in its world, characters do not use phones, can’t Google anything or dig up maps or get immediate confirmation that a loved one has died. Instead, they walk, and they carry letters to one another, and find happiness in individual, brief moments—because maybe they know of nothing better out there, or maybe because that is what defines them. Defines us. Transit is a powerful film, equally celebrating, mourning and fascinated by the ability of people to keep going. At one point, Georg describes to a Mexican official a short story about a waiting room in which denizens take turns entering hell, only to discover that the waiting room is hell. Knowing this, we still sit there. It takes a magnificent spirit to keep waiting. —Dom Sinacola


39. Midsommar

midsommar-movie-poster.jpg Year: 2019
Director: Ari Aster
Stars: Florence Pugh, Jack Reynor, Will Poulter, William Jackson Harper, Vilhelm Blomgren
Genre: Horror, Drama, Comedy
Rotten Tomatoes Score: 83%
Rating: R
Runtime: 140 minutes

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Christian (Jack Reynor) cannot give Dani (Florence Pugh) the emotional ballast she needs to survive. This was probably the case even before the family tragedy that occurs in Midsommar’s literal cold open, in which flurries of snow limn the dissolution of Dani’s family. We’re dropped into her trauma, introduced to her only through her trauma and her need for support she can’t get. This is all we know about her: She is traumatized, and her boyfriend is barely decent enough to hold her, to stay with her because of a begrudging obligation to her fragile psyche. His long, deep sighs when they talk on the phone mirror the moaning, retching gasps Pugh so often returns to in panic and pain. Her performance is visceral. Midsommar is visceral. There is viscera, just, everywhere. As in his debut, Hereditary, writer-director Ari Aster casts Midsommar as a conflagration of grief—as in Hereditary, people burst into flames in Midsommar’s climactic moments—and no ounce of nuance will keep his characters from gasping, choking and hollering all the way to their bleakly inevitable ends. Moreso than in Hereditary, what one assumes will happen to our American 20-somethings does happen, prescribed both by decades of horror movie precedent and by the exigencies of Aster’s ideas about how human beings process tragedy. Aster births his worlds in pain and loss; chances are it’ll only get worse.

One gets the sense watching Midsommar that Aster’s got everything assembled rigorously, that he’s the kind of guy who can’t let anything go—from the meticulously thought-out belief system and ritual behind his fictional rural community, to the composition of each and every shot. Aster and his DP Pawel Pogorzelski find the soft menace inherent to their often beautiful setting, unafraid of just how ghastly and unnatural such brightly colored flora can appear—especially when melting or dilating, breathing to match Dani’s huffs and the creaking, wailing goth-folk of The Haxan Cloak. Among Midsommar’s most unsettling pleasures are its subtle digital effects, warping its reality ever so slightly (the pulsing of wood grain, the fish-eye lensing of a grinning person’s eye sockets) so that once noticed, you’ll want it to stop. Like a particularly bad trip, the film bristles with the subcutaneous need to escape, with the dread that one is trapped. In this community in the middle of nowhere, in this strange culture, in this life, in your body and its existential pain: Aster imprisons us so that when the release comes, it’s as if one’s insides are emptying cataclysmically. In the moment, it’s an assault. It’s astounding. —Dom Sinacola


40. Honey Boy

honey-boy-movie-poster.jpg Year: 2019
Director: Alma Har’el
Stars: Shia LeBeouf, FKA Twigs, Noah Jupe, Lucas Hedges
Genre: Drama, Comedy
Rotten Tomatoes Score: 94%
Rating: R
Runtime: 93 minutes

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Honey Boy, to the ear, rings of stunt filmmaking, a redemption tale for freeing Shia LaBeouf from actor prison. In his case, “prison” is more a matter of public opinion than actual industry cancellation, but the truth is that Honey Boy is the truth: LaBeouf wrote the film’s screenplay as part of his rehab treatment after flying so far off the rails over the course of the decade, and in turn the screenplay wound up in the hands of Israeli-American filmmaker Alma Har’el. She sees, in LaBeouf’s story, a portrait of tormented American manhood, passed down like a volatile heirloom from father to son. In turn, she approaches the telling delicately, with compassion and even love for James (LaBeouf), the father, and empathy for Otis, the son, alternately played by Noah Jupe and Lucas Hedges as Har’el cuts from past to present and back again.

There’s harsh, guiding realism in Honey Boy, no better articulated than in one key moment where Jupe plays interpreter for James and his mother (voiced by Natasha Lyonne) in a shouting match staged by phone. Caught between James in person and mom in his ear, young Otis does what he does best—performing—as he dictates his parents’ words to one another. The scene cuts deep. Imagining boys and girls like Otis, forced to play referee between squabbling guardians, is made easy by the frankness of Har’el’s filmmaking. But she uses actual realism as a path toward magical realism, the aesthetic in which she resolves the movie, and in so doing resolves Otis’s (and LaBeouf’s) complicated feelings toward dad. Honey Boy is undoubtedly a redemptive film, but it isn’t redemptive at the expense of honesty and accountability. This is perhaps the best apology for bad behavior any celebrity captured in headlines has ever offered, and an extraordinary act of self-examination. —Andy Crump


41. Lean on Pete

lean-on-pete-movie-poster.jpg Year: 2018
Director: Andrew Haigh
Stars: Charlie Plummer, Steve Buscemi, Chloë Sevigny, Travis Fimmel, Steve Zahn
Genre: Drama
Rotten Tomatoes Score: 91%
Rating: R
Runtime: 121 minutes

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Lean on Pete flows with such gentle beauty that it may be hard to grasp precisely what it’s about or where it’s going. But the power of writer-director Andrew Haigh’s sublime drama is that it can support myriad interpretations while remaining teasingly mysterious—like its main character, it’s always just a bit out of reach, constantly enticing us to look closer. Based on Willy Vlautin’s 2010 novel, the movie is a smashing introduction to Charlie Plummer, who was the kidnapped John Paul Getty III in last year’s All the Money in the World. Here, he plays Charley Thompson, a 15-year-old living with his drinking, backslapping dad (Travis Fimmel) in Portland. Charley has a sweet face and a soft-spoken manner—when he talks, the last few words evaporate into the air, as if he’s too shy to even be bold enough to enunciate—but early on, we get a sense that there’s a craftiness underneath that demeanor. The first indication is his willingness to lie about his age to Del (Steve Buscemi), a craggy horse owner who reluctantly takes him on as a caretaker for his elderly racehorse Lean on Pete. Charley doesn’t know a thing about horses, but he’s anxious to find something to do now that he’s in a new town with his father, their reasons for leaving Spokane unspecified but clearly dispiriting. Familiar narrative tropes emerge in Lean on Pete: the boy-and-his-dog drama, the coming-of-age story, the father-and-son character piece, the road movie. Haigh breezes past them all, seeking something more elliptical in this deceptively slim story. With the patience and minimalist command of a Kelly Reichardt, he doesn’t dictate where his film goes, seemingly letting Charley’s restlessness call the shots. The boy’s journey gathers force and poignancy as it moves forward, and the more we understand about Charley the more unknowable he becomes. Along the way, we meet other people and see other worlds—the life of young military veterans, the reality of homelessness, the grind of the low-rent racing circuit—but Haigh views it all with the same unassuming compassion we see in Charley’s quiet eyes. —Tim Grierson


42. One Child Nation

one-child-nation-movie-poster.jpg Year: 2019
Directors: Nanfu Wang, Lynn Zhang
Genre: Documentary
Rotten Tomatoes Score: 98%
Rating: R
Runtime: 89 minutes

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The idea of the perfect family unit, its presence on television or in advertisements or in books, is a kind of propaganda. Everyone knows this, knows that idea embeds itself into political and cultural consciousnesses, knows that propaganda becomes an integral part of the identity, of the very notion of “family.” In Nanfu Wang and Lynn Zhang’s blistering One Child Nation, Wang digs deep into her past, comprised of the artifacts of propaganda that allowed the “One-Child Policy” in China to flourish. The film strikes a balance between investigative journalism and memoir, interrogating both the cultural texts that propagated the policy’s importance—its “benefits”—as well as the people in her life who were complicit in its consequences. It’s a documentary that cuts close to the bone, its rawness never undermining its commitment to challenging the institutions that allowed such a destructive policy to operate. As Wang questions her own connection to family and policy, the film unearths how politics can so easily shape family life itself. —Kyle Turner


43. Climax

climax-movie-poster.jpg Year: 2019
Director: Gaspar Noé
Stars: Sofia Boutella, Romain Guillermic, Souheila Yacoub, Kiddy Smile
Genre: Drama
Rotten Tomatoes Score: 69%
Rating: R
Runtime: 97 minutes

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Gaspar Noé has been so openly confrontational and provocative for so long that it’s easy to forget just how powerful a filmmaker he can be. He is deliberately repulsive, sometimes to the detriment of his own films; I don’t care how structurally inventive Irreversible is, I am never, ever sitting through that goddamned movie again. But there is an undeniable hypnotic fervor to his movies, from the sordid (but also sort of lovely) kink of Love to the elliptical madness of Enter the Void. The immediate thrill of Climax, Noé’s newest and unquestionably best film, is how, for the first time, you see him letting go a little bit, releasing some of his notorious control, letting his characters breathe a little bit—to be themselves. It opens with home-camera footage—the film takes place in 1996of a series of dancers, readying for a troupe tour of the United States, answering questions about their hopes and dreams, their desires, their fears, their basic motivations. It’s a slick, kind of cheap, but still incredibly effective way for Noé to give us just enough information about these dancers that we feel for them when they go through whatever Noé is about to put them through. (And you know he’s going to put them through something.) But it’s what comes next that’s most exciting: during rehearsal, a glorious dance routine featuring the entire crew, both meticulously choreographed and thrillingly improvised, expressing themselves the best way they know how. Noé’s camera swirls around in one long take, and the effect is breathtaking: It is as alive and electric as anything Noé’s ever done. Now you’re really invested in this crew…which, as Noé’s counting on, was your first mistake. It turns out, someone has spiked the sangria for the post-rehearsal part with LSD, and, apparently, a lot of it. Even if he puts all these people through the ringer—and oh, does he!—there is inspiration here: For the first time, it feels like the pain he’s putting everybody through is something he feels, too. It’s turned him into less of a Lars Von Trier geek show. Not to say that the ending doesn’t pack a wallop regardless. Noé, for all his newfound pseudo-humanism, isn’t going to send you home wanting for misery. But there is…well, not hope, exactly, but call it catharsis. He’s as uncompromising, and as resolutely himself, as ever. It’s just that there might be a little more shading and warmth inside Noé than maybe even he himself realized. Don’t misinterpret, though: This is Gaspar Noé Warmth, not normal human being warmth. Rest assured, his world remains no place for children. —Will Leitch


44. Ash Is Purest White

ash-is-purest-white-movie-poster.jpg Year: 2018
Director: Jia Zhangke
Stars: Tao Zhiao, Fan Liao
Genre: Drama, Thriller, Romance
Rotten Tomatoes Score: 99%
Rating: NR
Runtime: 136 minutes

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Ash Is Purest White’s story spans decades, a staggeringly beautiful epic, as comedic as it is heartbreaking, that stills feels impossibly intimate—confined, even, and not by space or imagery, but by emotion. China, over the decades through which the film sweeps, tumbles amidst modernization with little care for those who can’t afford to change with the times. Then there is love, passion and crime: At its heart, Ash Is Purest White is a romance between two criminals, Qiao (Tao Zhao) and Bin (Fan Liao). They are serious people with serious demeanors, their day-to-day lives oscillating between the nothingness of a routine lifestyle and violence. Yet, the violence is rarely ever seen—though when it is, Zhangke Jia directs it with a sense of relentless desperation and urgency—and most of the violence of the emotional sort. Yet, there is also a grand sense of human comedy that hangs over the film’s proceedings, as the stories of Jia’s core characters reflect China at large: Everything is changing, nothing is sacred, the past pales in comparison to the rapidly approaching future. Reality can be fought, but time is inescapable—always encroaching and always passing us by. —Cole Henry


45. Les Diaboliques

les diaboliques poster (Custom).jpg Year: 1955
Director: Henri-Georges Clouzot
Stars: Véra Clouzot, Paul Meurisse, Simone Signoret
Genre: Horror, Thriller
Rotten Tomatoes Score: 96%
Rating: NR
Runtime: 107 minutes

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Watching Henri-Georges Clouzot’s Les Diaboliques through the lens of the modern horror film, especially the slasher flick—replete with un-killable villain (check); ever-looming jump scares (check); and a “final girl” of sorts (check?)—one would not have to squint too hard to see a new genre coming into being. You could even make a case for Clouzot’s canonization in horror, but to take the film on only those terms would miss just how masterfully the iconic French director could wield tension. Nothing about Les Diaboliques dips into the scummy waters of cheap thrills: The tightly wound tale of two women, a fragile wife (Véra Clouzot) and severe mistress (Simone Signoret) to the same abusive man (Paul Meurisse), who conspire to kill him in order to both reel in the money rightfully owed the wife, and to rid the world of another asshole, Diaboliques may not end with a surprise outcome for those of us long inured to every modern thriller’s perfunctory twist, but it’s still a heart-squeezing two hours, a murder mystery executed flawlessly. That Clouzot preceded this film with The Wages of Fear and Le Corbeau seems as surprising as the film’s outcome: By the time he’d gotten to Les Diaboliques, the director’s grasp over pulpy crime stories and hard-nosed drama had become pretty much his brand. That the film ends with a warning to audiences to not give away the ending for others—perhaps Clouzot also helped invent the spoiler alert?—seems to make it clear that even the director knew he had something devilishly special on his hands. —Dom Sinacola


46. Crippled Avengers

crippled-avengers-movie-poster.jpg Year: 1978
Director: Chang Cheh
Stars: Feng Lu, Jamie Luk, Kuan Tai Chen, Meng Lo, Cheng Chiang
Genre: Martial Arts, Action & Adventure
Rotten Tomatoes Score: N/A
Rating: NR
Runtime: 100 minutes

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In a time when exploitation cinema seemed the standard for cheap movie houses the world over, no martial arts flick got much better than this Shaw Brothers staple, which eventually adopted the much more PC title, Return of the 5 Deadly Venoms. The blind one, the deaf mute, the one without legs and the brain-damaged “idiot”: Together, they make an unstoppable force of vengeance against the local martial arts master who crippled them, as well as his son, who ironically lost his arms at a young age, and so sports dart-shooting cast-iron facsimiles. In other words, Crippled Avengers plays it cool, allowing our disfigured heroes few but important victories for most of the film, building up to its final 25-minute series of fight scenes, in which a blind man, a deaf mute, a man with iron prosthetic legs and an acrobatic “idiot” combine their individual strengths to defeat a kung fu master with, basically, robot arms. Movies like this give us reasons to get up in the morning. —Dom Sinacola


47. Society

society-movie-poster.jpg Year: 1989
Director: Brian Yuzna
Stars: Billy Warlock, Devin DeVasquez, Evan Richards, Ben Meyerson
Genre: Horror
Rotten Tomatoes Score: 55%
Rating: R
Runtime: 99 minutes

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Society is perhaps what you would have ended up with in the earlier ’80s if David Cronenberg had a more robust sense of humor. Rather, this bizarre deconstruction of Reagan-era yuppiehood came from Brian Yuzna, well-known to horror fans for his partnership with Stuart Gordon, which produced the likes of Re-Animator and From Beyond…and eventually Honey, I Shrunk the Kids, believe it or not. Society is a weird film on every level, a feverish descent into what may or may not be paranoia when a popular high school guy begins questioning whether his family members (and indeed, the entire town) are involved in some sinister, sexual, exceedingly icky business. Plot takes a backseat to dark comedy and a creepily foreboding sense that we’re building to a revelatory conclusion, which absolutely does not disappoint. The effects work, suffice it to say, produces some of the most batshit crazy visuals in the history of film—there are disgusting sights here that you won’t see anywhere else, outside of perhaps an early Peter Jackson movie, a la Dead Alive. But Society’s ambitions are considerably grander than that Jackson’s gross-out classic: It takes aim at its own title and the tendency of insular communities to prey upon the outside world to create social satire of the highest (and grossest) order. —Jim Vorel


48. Bisbee ’17

bisbee-17-movie-poster.jpg Year: 2018
Director: Robert Greene
Genre: Documentary
Rotten Tomatoes Score: 95%
Rating: NR
Runtime: 89 minutes

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Robert Greene opens his essential new documentary, Bisbee ’17, with a quote from American writer Colin Dickey’s 2016 book, Ghostland: “Cities that are haunted … seem to straddle past and present as though two versions of the same city are overlaid on top of each other.” He’s talking about haunted manors littering the United States specifically and not the Arizona burg of Bisbee, but the town Greene acquaints us with indeed straddles its past and present, and something more—a collision between the two in the form of theater. In 1917, at the height of World War I, Bisbee was a critical hub in the war effort, not just a copper town but the copper town churning out minerals and profits. Then the miners went on strike, demanding safer work conditions and railing against campwide discrimination. To quash protests, Bisbee’s sheriff deputized a small army of locals, rounded up strikers in the early morning of July 12th, stuck them on cattle cars, and dropped them off in the New Mexico desert in an effort by the Phelps Dodge mining company and Bisbee’s law to halt dissent and restore order to their bottom line. Greene comes into the story 100 years later, as Bisbee’s current residents, prepping for the Bisbee Deportation’s centennial, decide they must recognize the evils of Bisbee yesteryear. How best to do so? By putting on a reenactment, casting townsfolk as miners, as the sheriff’s posse, as witnesses to the travesty. This is Greene’s jam: He blends traditional documentary techniques, talking head interviews and appraisals of primary sources, with the artifice of feature narrative. Greene’s craftsmanship invites awe as easily as the reenactment itself, scrappy but successfully harrowing in execution. The players get into their roles with more than professional enthusiasm—their performances exhibit a relish and zeal both shaped by an underlying desperation to observe the truth when for so long Bisbee has lived with truth unspoken. As the crimes of the deportation haunt Bisbee and its inhabitants, so, too, are we haunted by them through the filter of Greene’s lens. But that experience, the experience of being haunted, proves vital. Maybe it’s necessary to let history haunt us. —Andy Crump


49. Brawl in Cell Block 99

brawl-cell-block-99-poster.jpg Year: 2017
Director: S. Craig Zahler
Stars: Vince Vaughn, Don Johnson, Jennifer Carpenter, Marc Blucas, Rob Morgan, Udo Kier
Genre: Thriller, Action & Adventure
Rotten Tomatoes Score: 91%
Rating: NR
Runtime: 132 minutes

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In which we bask in Vince Vaughn’s hugeness, witnessing S. Craig Zahler’s pitch-perfect ode to grindhouse cinema draw the best of extremes out of an actor who’s had a rough couple years crawling out from under the parody of himself. This is not Vince Vaughn playing Bradley Thomas, stolid brute willing to do whatever it takes to protect his family, it is the silhouette of Vince Vaughn, silent and bigger than everyone else in the room, a spectre of bruised flesh—so much flesh—descending circle by circle into Hades, his odyssey heralded by the likes of Don Johnson and Udo Kier (both seemingly born to be in this endlessly compelling, awfully fucked-up movie) and soundtracked by soul/RnB icons like the O’Jays and Butch Tavares. It confirms that Zahler—along with Bone Tomahawk—is on some Tarantino levels of modern genre filmmaking—which could honestly be a pejorative, were Brawl in Cell Block 99 less finely tuned, less patient and less breathlessly violent. By the time Bradley lurches into irrevocable action, foreshadowed by an opening scene in which he rips apart a car with his bare hands, which is exactly as that sounds, every life force he snuffs out with maximum barbarity also comes with pure satisfaction, the Id of anyone who’s into this kind of thing stroked to completion. —Dom Sinacola


50. To Catch a Thief

to-catch-a-thief-movie-poster.jpg Year: 1955
Director: Alfred Hitchcock
Stars: Cary Grant, Grace Kelly, John Williams
Genre: Drama, Romance
Rotten Tomatoes Score: 96%
Rating: PG
Runtime: 106 minutes

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But really—he didn’t do it. Cary Grant plays John Robie, a retired jewel thief who’s enjoying his golden years tending vines on the French Riviera. Just when the Grenache is hitting the perfect Brix level, a series of copycat heists put Robie back in the thiefly limelight. Seeking to clear things up, he compiles a list of locals who are known to have heistable jewels, and being a smart and wily guy, he starts tailing a very, very pretty one (Francie, played by Grace Kelly). Budding romance can be an accidental side-effect of these things, but when Francie’s ice does go missing, she suspects John and it sours their relationship, as one might expect. John goes on the proverbial lam to get to the bottom of it. Talk about jewels! Nothing ever sparkled quite like Cary Grant and Grace Kelly onscreen together, especially with the legendary Edith Head on costume design—and their peerless charisma is in amazing hands here. The film itself is a bauble, unapologetically so: light and frothy and absolutely not Rear Window (none of which is an indictment). Sometimes it’s enough for something to simply be charming and beautiful. This film proves it. —Amy Glynn

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